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CONTENTS: 
The  Life  of  Francis  Daniel  Pastorius,  the  Founder  of  Germantown     -     121 
Sarly  Music  in  Philadelphia,  with  Special  Reference  to  German  Music     157 
The  German  American  Historical  Society  and  the  German  American 

Annals 180 


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EARLY    MUSIC  IN   PHILADELPHIA   WITH   SPECIAL 
FERENCE  TO  GERMAN  MUSIC. 

Introduction. 

The  (  migration  of  Germans  to  Philadelphia  increased 

to  suclTan  extent,  that  before  the  middle  of  the  eighteenth  century 

the  English  colonists  became  alarmed  for  fear  that  Pennsylvania 

be  alienated  from  the  English  crown,  and  be  dominated  by 

srman  immigrants.    Indeed,  throughout  the  eighteenth  cen- 

|   greater  part  of  the  German  immigrants  landed  at  Phila- 

and  from  there  were  distributed  into  other  States.     We 

aturally  expect  with  so  great  a  population  of  Germans 

lelp'nia  and  the  surrounding  country,  that  these  people 

continually  extend  their  influence,  and  constantly  spread 

their  ideas  of  art,  religion,  music  and  literature. 

:  us  consider  for  a  moment  the  condition  of  the  Germans 

md  in  this  country.     In  1683,  moved  by  William  Perm's 

1  10  clamations  of  the  glorious  new  world,  as  well  as  by 

'he  it   freedom  of  conscience  was  granted  in  Pennsyl- 

II,    a  band  of  German  immigrants  arrived  in  Philadel- 

f(  xinded   Germantown.      With   the   exception   of   the 

fifiarjeis  Daniel  Pastorious,  there  were  no  highly  cultured 

femven  among  them.     These  people  were  of  the  middle 

l  Wt  ?re  more  interested  in  weaving  and  agriculture  and 

Iv  ation,  than  in  the  cultivation  of  the  fine  arts.     The 

•  in  ;  Germany  were  not  conducive  to  culture. 

ioui  ptry  was  just  recovering  from  the  Thirty  Years' 
V  jpi  ie  strength  of  the  people  was  being  expended  in 

h  the  homes,  and  improving  the  land  made  desolate 

durii  !i  'erce  struggle.    At  this  time,  too,  the  German  people 

dS7) 


i5« 


Early  Music  in  Philadelphia  with 


had  little  liberty,  but  rather  were  under  the  thumb  ->f  absolutism, 
which  was  at  that  time  the  great  force  in  Europear  countries.    It 
was  not  an  epoch  favorable  to  the  cultivation  of  the  fine  arts. 
There  was  no  great  literature,  no  great  art,  no  great  music.  There 
was,  however,  a  strong  religious  spirit,  which  is  often  the  result 
of  hardship  and  suffering.    It  is  in  the  field  of  religion,  too,  that 
we  find  the  best  music  during  the  seventeenth  century,  although 
it  was  not  original  in  style,  but  simply  a  continuation  of  Luther's 
music.1    The  hymn  writers  of  that  time,  both  Catholic  and  Protes- 
tant, are  not  to  be  despised,  and  we  need  mention  but  a  few 
whose  songs  have  lived  even  to  the  present  day :  as  Paul  Fleming 
(1609- 1 640)  and  Paul  Gerhardt  (1606- 1676)  Protestant;  Fried- 
rich  Spe%  (1591-1635)  and  Johann  Scheffer  (1624-]  677),  Catho- 
lics.    It  can  be  said,  then,  with  some  degree  of  surety,  that  the 
performance  of  music  by  the  early  German  settlers  in  Philadel- 
phia was  confined,  in  the  province  of  music,  to  hymns. 

In  this  department  the  Germans  hold  an  important  position; 
not  only  was  their  church  music  an  essential  part  of  their  serv- 
ices, but  the  number  of  hymn-writers  and  the  mar'ry  editions  of 
German  hymn  books  published  in  Philadelphia  testi  fy  to  the  love 
which  these  new  settlers  had  for  church  music. 

It  is  only  necessary  to  mention  a  few  of  these  < hymn-writers 
to  recall  to  mind  the  extreme  productiveness  of  this  style  of  litera- 
ture and  music.  Among  the  most  important  hynr  n-writers  were 
F.  D.  Pastorius,  of  Germantown ;  Johann  Kelpuis,  of  the  Wissa- 
hickon;  Conrad  Beissel,  of  Ephrata,  and  Count  vcbn  Zinzendorf, 
the  Moravian.2 


'Louis  Elson,  National  Music  in  America,  p.  18. 

2Cf.  for  further  information  on  this  subject:  J.  H.  T  Jubbs,  Early  German 
Hymnology  of  Pennsylvania;  Hausmann,  German  Amer'u  :an  Hymytology  16S3- 
1800,  in  Americana  Germanica  1898,  Vol.  II,  No.  3,  p.  1    1. 


Special  Reference  to  German  Music  159 


CHAPTER  I. 
Church  Music  and  the  Manner  of  its  Performance. 

It  has  already  been  mentioned  that  there  were  many 
German  hymn-writers  in  Philadelphia  in  the  early  eighteenth 
century,  and  it  is  now  in  place  to  consider  what  was  the  quality  of 
the  music  in  the  German  churches  at  that  period,  and  whether 
musical  instruments  of  any  kind  were  used  in  the  Philadelphia 
churches. 

For  the  first  record  it  is  necessary  to  go  a  little  beyond  Phila- 
delphia to  the  Hermits  of  the  Wissahickon.  To  this  people  un- 
doubtedly belongs  the  honor  of  first  using  instrumental  music 
in  religious  services.  Of  their  voyage  across  the  Atlantic,  Kelpuis 
says: 

"We  had  also  prayer  meetings  and  sang  hymns  of  praise  and 
joy,  several  of  us  accompanying  on  instruments  that  we  had  brought 
from  London."  3 

Evidently  the  instruments  which  they  brought  with  them 
were  not  satisfactory  or  were  regarded  as  inadequate  for  the 
worship  of  God,  as  Kelpuis  in  a  letter  to  friends  in  London  asked 
that  two  clarichords  with  additional  strings  might  be  sent.4 

Again  the  Hermits  at  the  consecration  of  the  new  Swedish 
church — Gloria  Dei — July  2,  1700,  act  as  choristers  and  furnish 
instrumental  music.5 

The  first  German  minister  ordained  in  this  country  was 
Justus  Falckner,  who  was  consecrated  by  the  Swedish  Lutherans. 
In  a  letter  to  Rev.  Heinrich  Muhlen,  of  Holstein  (1701),  Falck- 
ner shows  that,  even  at  that  early  day,  music  was  considered  an 
important  adjunct  of  the  church  service.     He  says: 


'  Sachse,  German  Pietists,  p.  22 ;  Seidensticker,  Geschichtsblactter,  p.  100. 

4  Seidensticker,  Geschichtsblactter,  p.   100. 

5  Sachse,  German  Pietists,  p.  144  (hereafter  quoted  as  G.  P.). 


160  Early  Music  in  Philadelphia  with 

"In  short  there  are  Germans  here,  and  perhaps  the  majority,  who 
despise  God's  Word  and  all  outward  good  order ;  who  blaspheme  the 
sacraments  and  frightfully  and  publicly  give  scandal 

"I  will  here  take  occasion  to  mention  that  many  others  besides 
myself,  who  know  the  ways  of  the  land,  maintain  that  music  would 
contribute  much  towards  a  good  Christian  service.  It  would  not 
only  attract  and  civilize  the  wild  Indians,  but  it  would  do  much  good 
in  spreading  the  Gospel  truths  among  the  sects  and  others  by  attract- 
ing them.  Instrumental  music  is  especially  serviceable  here.  Thus 
a  well-sounding  organ  would  perhaps  prove  of  great  profit,  to  say 
nothing  of  the  fact  that  the  Indians  would  come  running  from  far 
and  near  to  listen  to  such  unknown  melody,  and  upon  that  account 
might  become  willing  to  accept  our  language  and  teaching,  and  re- 
main with  people  who  had  such  agreeable  things ;  for  they  are  said 
to  come  ever  so  far  to  listen  to  one  who  plays  even  a  reed-pipe  (rohr- 
pfeiffe)  :  such  an  extraordinary  love  have  they  for  any ,  melodious 
and  ringing  sound.  Now  as  the  melancholy,  saturine  stingy 
Quaker  spirit  has  abolished  (relegiert)  all  such  music,  it  would 
indeed  be  a  novelty  here,  and  tend  to  attract  many  of  the  young 
people  away  from  the  Quakers  and  sects  to  attend  services  where 
such  music  was  found,  even  against  the  wishes  of  their  parents.  This 
would  afford  a  good  opportunity  to  show  them  the  truth  and  their 
error. 

"If  such  an  organ-instrument  (Orgel-werck)  were  placed  in  the 
Swedish  church  ....  it  would  prove  of  great  service  to  this 
church. 

"If  there  were  music  in  the  church,  the  young  people  would 
consider  church-going  a  recreation. 

"The  Lord  of  Hosts  ....  would  be  praised  and  honored 
with  cymbal  and  organ. 

"And  it  may  be  assumed  that  even  a  small  organ-instrument 
and  music  in  this  place  would  be  acceptable  to  God,  and  prove  far 
more  useful  than  many  hundreds  in  Europe,  where  there  is  already 
a  superfluity  of  such  things. 

"There  are  in  Europe  masters  enough  who  would  build  such 
instruments,  and  a  fine  one  can  be  secured  for  300  or  400  thalers. 
Then  if  an  experienced  organist  and  musician  could  be  found,  and 
a  curious  one,  who  would  undertake  so  far  a  journey,  he  would  be 
very  welcome  here.  In  case  this  could  not  be,  if  we  only  had  an 
organ,  some  one  or  other  might  be  found  who  had  knowledge  there- 
of." 6 


'Cf.  The  Missive  of  Justus  Falckner  of  Germantown,  Concerning  the 
Religious  Condition  of  Pa.  in  the  Year  1701.  Translated  by  J.  F.  Sachse. 
Found  also  in  Pa.  Mag.  of  Hist.,  1897. 


Special  Reference  to  German  Music  161 

The  writer  of  this  missive  was  somewhat  of  a  poet  himself, 
and  composed  several  fine  hymns,  some  of  which  are  in  use  at 
the  present  day.7 

Whether  the  appeal  for  musical  instruments  was  of  avail, 
we  know  not,  but  in  the  Journal  of  Rev.  Andreas  Sandel  for 
July  20,  1702,  is  mentioned  one  Jonas,  organist  of  Gloria  Dei 
church.  Again,  on  November  24,  1703,  when  Falckner  was 
ordained  in  this  church,  Sachse  says  : 

"The  service  was  opened  with  a  voluntary  on  the  little  organ  in 
the  gallery  by  Jonas  the  organist,  supplemented  with  instrumental 
music  by  the  Mystics  on  the  viol,  hautboy,  trumpets  (Posannen)  and 
kettledrums  (Pauken)"  8 

The  first  church  organ  in  Philadelphia,  then,  was  placed  in 
a  Swedish  Lutheran  church  largely  by  means  of  a  German.  Al- 
though the  merit  for  this  achievement  must  be  divided  between 
the  Germans  and  Swedes,  in  one  department  of  music — the  sing- 
ing of  hymns — the  Swedes  probably  were  pre-eminent.  In  1696 
Charles,  King  of  Sweden,  sent  to  the  church  at  Wicacoa,  one 
hundred  hymn  books,9  while  in  1712  another  lot,  consisting  of 
"360  hymn  books  of  three  sorts"  were  shipped.10  The  Swedes 
were  strict,  too,  in  their  regulations  of  the  church  services,  espe- 
cially of  singing.  In  1702,  Rev.  Andreas  Sandel  imposes  a  fine 
"for  untimely  singing,  six  schillings."  n  Especially  interesting 
is  the  account  concerning  the  attempt  of  Pastor  Andreas  Hes- 
selius,  of  Christina,  Delaware,  to  reform  church  singing  in  1713. 
Acrelius  says : 


'  Sasche,  Justus  Falckner,  pp.  20-21. 

8  Justus  Falckner,  p.  64 ;  also  G.  P.,  pp.  354-5.  Sachse  believes  this  organ 
was  one  brought  over  by  Kelpius. 

'  Israel  Acrelius,  A  History  of  New  Sweden,  trans,  by  Wm.  Reynolds, 
in  Memoirs  of  Pa.  Hist.  Soc,  Vol.  XI,  pp.-  197,  366  (hereafter  quoted  as 
Acrelius). 

"Acrelius,  p.  367;  also  Andreas  Sandel's  Diary,  in  Pa.  Mag.  Hist.  1906, 
p.  446. 

11  Acrelius,  p.  217. 


1 62  Early  Music  in  Philadelphia  with 

"He  had  special  regard  to  propriety  in  church-singing,  in  which 
there  was  often  such  discord,  as  though  they  intended  to  call  their 
cows  to  the  church.  In  opposition  to  which  it  was  represented  that 
as  all  those  who  possessed  the  gift  of  praising  God  with  a  pleasing 
voice  in  psalms  and  hymns  should  not  stand  mute,  so,  on  the  other 
hand,  those  who  were  unfitted  for  this  should  not  with  their  harsh 
voices,  hinder  others  and  make  confusion,  but,  by  softly  singing  after 
the  others,  train  themselves  to  correct  singing.  During  the  singing, 
he  went  around  the  church  and  aided  where  they  failed."  12 

It  is  very  probable  that  in  Philadelphia,  this  same  instruc- 
tion in  church  singing  prevailed,  since  Hesselius  was  for  some 
time  Provost,  and  had  a  right  to  command,  and  also,  because 
Samuel  Hesselius,  his  brother,  occupied  the  pulpit  at  Wicacoa 
and  could  more  easily  be  coerced — if  necessary — to  establish  this 
method  of  instruction. 

In  the  other  churches  of  Philadelphia,  organs  seem  to  have 
been  introduced  at  a  relatively  late  date.  On  September  2,  1728, 
a  committee  having  been  appointed  at  Christ  Church  "to  treat 
with  Mr.  Lod.  C.  Sprogel,13  about  an  organ  lately  arrived  here, 
report  that  they  had  done  the  same,  and  that  he  insisted  on  £200 
for  said  organ ;  and  that  they  had  procured  men  of  the  best  skill 
this  place  could  afford  to  erect  the  said  organ  in  a  convenient 
house  in  town,  to  make  trial  thereof ;  which,  being  done,  it  is  said 
the  organ  proves  good  in  its  kind,  and  large  enough  for  our 
church."  14  Upon  this  recommendation  the  organ  was  purchased. 
In  the  Moravian  church,  corner  of  Race  and  Broad  streets,  there 
were  two  organs  in  1743,15  one  of  which  was  sold  in  1796,  and 
a  new  one  built  by  David  Tannenberger.16     In  this  same  year 


"Acrelius,  p.  276. 

"  Ludovic  Christian  Sproegel  was  one  of  the  "Hermits  of  the  Wissa- 
hickon." 

"Quoted  from  the  Minutes  of  the  Vestry  of  Christ  Church,  by  Benj. 
Borr,  History  of  Christ  Church,  p.  61. 

15  Madeira,  Annals  of  Music  in  Philadelphia,  p.  24. 

"  Madeira,  Annals  of  Music  in  Philadelphia,  p.  24  (hereafter  quoted  as 
Madeira). 


Special  Reference  to  German  Music  163 

( 1 743 )  the  Moravians  in  Germantown  had  an  organ  costing  £60, 
but  in  1744  both  church  and  organ  reverted  to  the  German  Re- 
formed Church.17  The  Catholic  church  had  an  organ  in  1750.18 
These  are  the  earliest  known  organs  in  use  in  Philadelphia 
churches.  From  this  time  on,  the  other  churches  in  the  city 
gradually  established  them  as  an  aid  to  their  services. 

One  writer,  who  came  to  this  country  from  Germany,  evi- 
dently had  no  knowledge  of  these  organs  when  he  said : 

"I  came  to  this  country  with  the  first  organ  [1750]  which  now 
stands  in  a  High  German  Lutheran  church  in  the  city  of  Philadel- 
phia, and  which  was  built  in  Heilbronn."  19 

In  the  face  of  the  evidence  already  produced,  it  is  needless 
to  say  that  this  statement  is  a  little  off  color,  to  say  the  least. 

There  were  then  in  Philadelphia  several  organs  before  1755, 
and  it  is  reasonable  to  assume  that  in  the  Moravian  church,  that 
"wind"  and  "string"  instruments  were  used,  since  we  find  this 
true  at  the  colony  in  Bethlehem.20  The  testimony  of  travellers 
of  that  time  or  of  members  of  other  churches  is  of  some  interest 
and  importance.  The  first  witness  is  William  Black,  secretary 
of  the  commission  appointed  by  the  Governor  of  Virginia  to 
unite  with  commissions  from  Maryland  and  Pennsylvania  for 
the  purpose  of  treating  with  the  Indians.  In  the  year  1744,  he 
resided  in  Philadelphia,  during  which  time  he  kept  a  journal 
of  interest  and  importance.    June  8  he  writes : 


"  Minutes  and  Letters  of  the  Coetus  of  the  German  Reformed  Church, 
p.  29. 

18  Madeira,  p.  24. 

"Gottlieb  Mittelberger's  Journey  to  Penn.  in  the  Year  1750;  translated 
by  Carl  T.  Eben,  p.  114. 

"Wm.  Reichel,  Something  about  Trombones,  p.  4  ff.  See  also  the  state- 
ment concerning  Justus  Falckner's  ordination  as  quoted  above,  where  musical 
instruments  of  this  character  were  used. 


164  Early  Music  in  Philadelphia  with 

"We  went  to  the  Moravian  Meeting,  where  I  had  the  pleasure 
to  hear  an  Excellent  Comment  on  that  Passage  in  Scripture  Relating 
to  the  Prodigal  Son,  and  after  some  very  Agreeable  Church  Mustek, 
half  an  hour  after  9  they  broke  up."  21 

This  testimony  is  not  without  its  value,  as  this  gentleman 
was  evidently  somewhat  of  a  musician  himself,  since  under  the 
same  date  in  his  diary  we  find : 

"I  Rose  from  my  Bed  and  pass'd  two  hours  in  writting,  the 
rest  of  the  time  till  Breakfast,  I  spent  with  my  Fiddle  and  Flute."  22 

Concerning  the  music  in  the  Moravian  church  we  have  other 
evidence,  at  a  later  date.  John  Adams  remarks  in  his  diary  for 
October  23,  1774: 

"The  singing  here  [Methodist  meeting]  is  very  sweet  and  soft 
indeed ;  the  first  music  I  have  heard  in  any  society  except  the 
Moravians,  and  once  at  church  with  the  organ."  23 

He  also  remarks  September  4,  1774,  upon  "the  organ  and 
a  new  choir  of  singers  at  Christ  Church,  which  were  very  musi- 
cal." 24 

Franklin,  in  1755,  speaks  of  hearing  Moravian  music  at 
Bethlehem,  and  praises  it  generously.25  A  year  earlier  Acrelius, 
who  visited  the  same  place,  gives  a  more  detailed  account  in  the 
following  words : 

"It  was  finally  agreed  that  we  should  sit  below  [in  the  audi- 
torium of  the  church],  as  the  music  sounded  better  there.  The 
organ  had  the  accompaniment  of  violins  and  flutes.  The  musicians 
were  back  in  the  gallery,  so  that  none  of  them  were  seen."  One  of 
the  ministers  "read  some  verses  of  a  German  hymn  book,  after  which 
they  were  sung  with  excellent  music."  28 


21  Perm.  Mag.  of  History,  Vol.  II,  p.  43. 

^Penn.  Mag.  of  Hist.  Vol.  II,  p.  40. 

m  John  Adams  Works,  Vol.  II,  pp.  401  and  364. 

"John  Adams  Works,  Vol.  II,  pp.  401  and  364. 

"'Franklin,  Autobriography,  p.  325   [Lippincott,  Phila.,  1868]. 

26  Acrelius,  p.  413. 


Special  Reference  to  German  Music  165 

Their  style  of  music  and  manner  of  performing  it  must 
have  been  exceptionally  good,  as  compared  with  the  music  of 
other  churches,  to  have  impressel  so  favorably  such  men,  who, 
we  may  be  sure,  were  quite  different.  There  is  the  sturdy  pastor 
Acrelius,  understanding  church  music  and  the  manner  of  its 
performance ;  the  cordial,  genial  Ben  Franklin,  who  knew  some- 
thing about  music  from  living  in  London ;  the  somewhat  cold 
but  highly  cultured,  John  Adams,  with  his  Puritan  traditions ; 
then  the  gentleman  from  Virginia,  William  Black,  who  most 
probably  partook  of  the  nature  of  the  warm,  sunny-tempered 
Southerners,  himself  somewhat  of  a  musician.  Could  we  ask 
for  witnesses  more  unlike? 

To  the  Moravian  church  undoubtedly  belongs  the  palm  for 
music  during  the  eighteenth  century ;  but  there  was  music,  and 
good  music,  in  some  other  churches  as  well.  We  have  already 
mentioned  the  music  in  Christ  Church  and  the  Methodist 
Church.  Concerning  the  music  in  the  German  Lutheran  Church, 
we  have  the  testimony  of  Daniel  Fisher,  who  writes  in  his  Diary 
for  May  25,  1755: 

"Went  to  the  Lutheran  Church,  a  neat  Brick  Building  where 
there  is  a  good  organ27  to  which  I  heard  them  sing  Psalms,  agree 
ably  enough."  2S 

Again  he  says : 

"The  Lutheran  Church  has  an  organ,  and  a  good  one."  29 

There  were  organs  then  in  the  churches,  to  a  great  extent, 
before  1750.  The  question  now  arises  were  there  men  who 
could  repair  these  instruments  if  they  got  out  of  order?  By  the 
end  of  the  fourth  decade,  there  were  several  men  who  could 
not  only  repair  an  organ,  but  also  build  one.  Of  these  men  Gus- 
tavus  Hesselius  is  the  most  important,  as  he  was  the  first  spinet 


21  The  organ  Mittelberger  brought  from  Heilbronn ;  see  above. 
Tenn.  Mag.  of  Hist,  Vol.  XVII,  p.  267. 
"  Penn.  Mag.  of  Hist.,  Vol.  XVII,  p.  272. 


1 66  Early  Music  in  Philadelphia  with 

builder  in  America,  having  produced  specimens  as  early  as  1743,30 
and  probably  the  first  organ  builder  in  Pennsylvania.  It  is  claimed 
that  he  was  the  first  organ  builder  in  America,  and  in  support  of 
that  claim  an  organ  is  mentioned  as  built  by  him  for  the  Moravian 
Church  at  Bethlehem,  Pa.,  in  1746.31  The  fact  is  lost  sight  of 
that  a  Boston  man,  Edward  Bromfield,  generally  regarded  as 
the  first  organ  builder,  constructed  an  instrument  in  1745,32 
although  Hesselius  was  undoubtedly  the  first  man  who  built 
many  church  organs. 

Still  another  claimant  appears  for  this  title — no  less  a  man 
than  £he  Englishman,  Doctor  Christopher  Witt  (1675- 1765). 
another  hermit  of  the  Wissahickon.  Doctor  Witt  possessed  a 
large  pipe-organ  presumably  made  by  him  alone,  but  possibly 
aided  by  other  Hermits.  It  was  built  at  least  while  he  was  living 
with  the  Settlement  on  the  Wissahickon,  and  as  he  left  that  society 
shortly  after  the  death  of  Kelpuis,33  which  took  place  about 
1708,34  the  evidence  is  in  his  favor.  This  organ  at  his  death  was 
valued  at  £40.33 

Hesselius  was  not  only  a  musician,  but  a  painter  as  well.  He 
died  in  1755. 36  Connected  with  Hesselius  in  1746  was  John  G. 
Klemm,  a  native  of  Dresden,  Germany.  Three  years  later  David 
Tannenberger  arrived  in  Philadelphia,  a  man  whom  many  of  his 
contempararies  conceded  to  be  the  greatest  organ  builder  in 
America,  but,  as  is  usually  the  case,  there  is  another  claimant  for 
this  high  honor,  as  will  be  seen  later. 

David  Tanneberger  was  born  March  21, 1728,  in  Berthesdorf, 
Saxony.  He  was  evidently  an  all-round  musician,  and  could 
play,  sing — he  possessed  a  good  voice — build,  or  repair  an  organ 


>Penn.  Mag.  of  Hist,  XVI,  p.  473   (note). 

lPenn.  Mag.  of  Hist.,  Vol.  XXIX,  p.  131  ff;  also  Reichel,  p.  4. 

!  L.  Elson,  History  of  American  Music,  p.  43. 

1  German  Pietists,  pp.  403.  412. 

*  German  Pietists,  p.  192. 

5  German  Pietists,  p.  418  (note). 

"Penn.  Mag.  of  Hist.,  Vol.  XII,  p.  503  (note). 


Special  Reference  to  German  Music  167 

as  occasion  presented  itself.  It  is  known  that  he  built  at  least 
fourteen  organs  during  his  stay  in  Pennsylvania,  while  no  record 
of  the  number  of  spinets,  which  he  made  and  sold  for  £22. 10s, 
has  been  discovered.  He  died  May  19,  1804,  stricken  by  paraly- 
sis while  tuning  an  organ  at  York,  Pa.37 

As  to  Tannenberger's  reputation  as  an  organ  builder,  we 
have  the  testimony  of  a  man  who  probably  knew  Tannenberger : 

"Tannenberg  belongs  to  history  as  the  organ  builder  of  his  day 
and  one  of  renown.  He  too,  was  of  the  German  school.  Fancy 
stops  were  not  generally  in  vogue,  except  the  trumpet  in  the  great 
organ,  and  the  vox  humana  in  the  swell,  of  which  latter  there  was 
but  one  in  the  city,  and  that  was  in  Christ  Church,  and  to  my  young 
ear,  a  good  imitation  of  the  human  voice. 

"There  are  several  of  Tannenberg's  organs  yet  in  breathing 
existence  [1857].  Lancaster,  Litiz,  and  Nazareth  still  hold  his 
memory  in  audible  and  respectful  tones ;  and  much  of  his  work  is 
worthy  of  imitation.  His  diapsons  were  particularly  dignified, 
whilst  his  upper  work,  12th,  15th,  and  sesquialtera,  gave  brilliancy  to 
the  whole."  38 

This  testimony  of  Abraham  Ritter,  an  organist  of  good 
standing  in  the  Moravian  Church,  gives  some  idea  of  the  excel- 
lence of  the  work  and  of  the  reputation  which  Tannenberger  still 
had  in  the  nineteenth  centruy. 

We  have  already  spoken  of  Gottlieb  Mittelberger  and  his 
organ,  and,  although  we  cannot  depend  upon  his  statements,  there 
may  be  some  truth  in  his  somewhat  exaggerated  account  of  the 
dedication  of  his  organ.  It  is  at  least  interesting,  and  shows  that 
the  people  as  a  whole  were  certainly  not  prejudiced  against 
music.     He  says : 

"After  this  work  had  been  set  up  and  tuned  it  was  conse- 
crated with  great  rejoicing  and  delivered  to  the  Christian  St. 
Michael's  Church  for  the  praise  and  service  of  God. 

"The  crowd  of  hearers  was  indescribably  large ;  many  people 


37  Penn.  Mag.  of  Hist.,  Vol.  XXII,  p.  231  ff. 

38  Abraham  Ritter,  Hist,  of  the  Moravian  Church  in  Phila.  (1857),  p.  59  ff- 
note. 


168  Early  Music  in  Philadelphia  with 

came  from  a  great  distance,  10,  20,  30,  40  and  even  50  hours'  journey, 
to  see  and  hear  this  organ.  The  number  of  hearers,  who  stood 
inside  and  outside  the  church,  both  German  and  English,  were 
estimated  at  several  thousands.  I  was  appointed  school-master  and 
organist.  As  I  became  more  and  more  known  in  Pennsylvania,  and 
the  people  learned  that  I  had  brought  fine  and  good  instruments 
with  me,  many  English  and  German  families  came  10,  20  and  30 
hours'  journey  to  hear  them  and  the  organ,  and  they  were  greatly 
surprised  because  they  had  never  in  all  their  lives  seen  or  heard  an 
organ  or  any  of  those  instruments.39 

"At  the  present  time  [1754]  there  are  6  organs  in  Pennsylvania 
— the  first  is  in  Philadelphia,  the  2nd  in  Germantown,  the  3rd  in 
Providence,  the  4th  in  New  Hanover,  the  5th  in  Dulpehocken,  all 
of  them  came  to  this  country  during  the  four  years  of  my  sojourn 
there."  *° 

This  statement  concerning  the  number  of  organs  in  Phila- 
delphia cannot  be  true,  as  we  have  shown  above  that  there  were 
several.  In  his  list  of  the  organs  in  Pennsylvania,  he  neglects 
to  mention  the  one  made  for  the  Moravian  Church  at  Bethlehem 
in  1746.41  The  number  of  people  which  he  claims  was  present 
at  the  dedication  is  probably  exaggerated,  and,  as  Mittelberger 
was  the  chief  performer,  we  can  pardon  him  this  slip  of  the 
pen.  It  is  probable,  however,  that  there  was  a  large  number  of 
people  present,  as  there  would  be  at  any  new  event  entering  into 
their  narrow  lives — especially  as  there  was  no  charge  for  admis- 
sion. 

In  1762  a  new  organ  was  built  in  Philadelphia  by  Philip 
Feyring  for  St.  Paul's  Church.  He  is  the  other  claimant  to  the 
honor  of  being  the  greatest  organ  builder  of  his  day.42  One  of 
the  newspapers  was  evidently  partial  to  him,  since  it  gives  this 
notice : 


M  This  statement  is  utterly  false,  as  it  will  be  shown  later  that  there 
were  musical  instruments  in  Philadelphia  long  before  this  time,  and  even 
concerts  in  1740. 

w  Mittelberger's  Journey  to  Penn.,  p.  114. 

41  Cf.  above,  p.     . 

u  Cf.  above,  p.    . 


Special  Reference  to  German  Music  169 

"The  New  Organ,  which  is  putting  up  in  St.  Paul's  Church  in 
this  City,  will  be  in  such  Forwardness  as  to  be  used  in  Divine  Service 
on  Christmas  Day.  It  is  of  a  new  Construction,  and  made  by  Mr. 
Philip  Fyring,43  Musical  Instrument-Maker,  in  this  City,  who  may, 
with  Justice,  be  said  to  be  the  best  Hand  at  that  ingenious  Business 
on  the  Continent."  44 

The  organ  was  evidently  in  use  on  Christmas  Day  and  must 
have  proven  satisfactory,  as  it  called  forth  a  poem  lauding  both 
Feyring  and  his  organ. 

We  have  this  biographical  reference  to  him  in  a  contem- 
porary newspaper : 

"Mr.  Feyring  is  a  German  by  Birth,  but  has  for  some  years 
past,  practic'd  the  making  of  Musical  Instruments  (particularly 
Spinets  and  Harpsichords)  in  this  City,  with  great  Repute."  45 

How  many  instruments  were  sold  by  these  organmakers  it 
would  be  difficult  to  say,  although  undoubtedly  parlor  organs  were 
found  in  many  houses.  There  are  advertisements  of  two  organs 
for  sale  among  a  list  of  household  goods  before  the  end  of  1750: 
A  "small"  organ  belonging  to  Benj.  Morgan,  1748,46  and  a 
"large"  one,  the  property  of  the  late  Peter  Kook,  in  175c.47 

Religious  music  in  this  half  century  was  flourishing,  and 
was  considered  a  valuable  adjunct  of  the  church  service,  not  only 
in  German  churches,  but  also  in  the  Swedish  and  English 
churches.  The  composition  of  hymns  up  to  this  time  seems  to 
have  been  confined  to  the  Germans. 


Spelled  also  Feyring. 
Pa.  Gazette,  Dec.  23,  1762. 
Pa.  Gas.,  Dec.  30,  1762. 
Pa.  Journal,  July  7,  1748. 
Pa.  Journal,  Jan.  2,  1750. 


170  Early  Music  in  Philadelphia  with 


CHAPTER  II. 

Secular  Music. 

From  the  preceding  chapter  it  has  been  clearly  seen,  that 
the  Germans  in  Philadelphia,  and  indeed  in  the  whole  State,  were 
strongly  religious,  and  were  celebrated  for  their  church  music 
and  instrument  makers,  especially  for  their  organ  builders. 

Were  all  the  people  in  Philadelphia  as  religious  as  the  Ger- 
mans and  Quakers  seem  to  have  been,  and  were  there  no  public 
amusements?  This  is  an  important  question,  and  one  not  easily 
answered,  especially  during  the  first  half  of  the  eighteenth  cen- 
tury. It  may  be  thought  that  this  question  is  not  related  to  Ger- 
man music,  but  indirectly  it  is,  so  that  it  may  be  shown  whether 
or  not  the  people  of  Philadelphia  were  ready  to  welcome  music, 
whether  they  were  in  a  state  of  mind  favorable  for  the  introduc- 
tion of  any  amusements.  It  is  necessary  to  establish  these 
facts  before  we  can  clearly  understand  the  reasons  and  cause 
for  the  introduction  of  German  concert  music  into  America. 

We  know,  that  in  Philadelphia  during  the  eighteenth  cen- 
tury, there  were  men  of  every  creed  and  religion,  of  every  walk 
of  life,  of  many  different  nationalities,  and  we  may  be  sure  that 
in  such  a  conglomeration  of  men  and  ideas  there  would  be  some 
to  whom  amusements  would  be  necessary — even  amusements 
which  strait-laced  people  would  condemn.  The  information  there 
is  upon  this  subject  supports  the  opinion,  that  there  were  amuse- 
ments even  in  the  early  part  of  the  eighteenth  century.  Foremost 
among  the  pleasures  in  which  the  inhabitants  of  Philadelphia 
indulged,  was  dancing,  and  we  have  reference  to  this  art  at  an 
early  period.  In  a  book  written  in  17 10  is  the  following  state- 
ment : 

"Among  the  rest  of  my  Friends,  I  must  not  forget  the  facetious 


Special  Reference  to  German  Music  iji 

Mr.  Staples,  Dancing-Master,  who  was  the  first  Stranger  of  Phila- 
delphia that  did  me  the  Honour  of  a  Visit."  *8 

As  early  as  1 716  we  find  this  record  : 

"At  the  Yearly  Meeting  of  the  Friends,  members  were  ad- 
vised against  'going  to  or  being  in  any  way  concerned  in  plays, 
games,  lotteries,  music  and  dancing.'  "  *9 

Throughout  the  first  half  of  the  eighteenth  century  dancing 
was  evidently  held  in  due  respect  by  a  certain  element  of  the  popu- 
lation. In  1728  it  forms  a  part  of  the  curriculum  of  a  boarding 
school.50  In  1730  dancing  is  taught  by  Thomas  Ball's  sister.51 
The  first  really  fashionable  ball  was  probably  that  given  by  Gov- 
ernor Gordon,  in  1726,  in  honor  of  the  Prince  of  Wales'  birth- 
day.52 To  some  extent,  too,  music  and  dancing  were  surely  a 
part  of  the  marriage  festivities,  as  the  following  item  shows : 

"We  hear  that  Tuesday  night  last,  a  young  Dutchman  was 
married  to  an  old  Dutchwoman,  who  was  known  to  have  money. 
They  had  a  fiddle  at  the  Wedding.  .  .  .  She  danc'd  till  it 
was  late."  53 

We  find  ministers  of  different  denominations  complaining  of 
the  irreligion  of  some  of  the  inhabitants.    As  one  writer  remarks : 

"We  live  in  an  age,  when  'tis  counted  almost  a  scandal  to  be 
a  Christian.  Religion  is  stil'd  Preciseness  and  Hyprocrisy,  and  a 
strict  Conformity  to  Truth  and  Virtue  is  imputed  to  be  the  Effect 
of   Melancholly,   a  Distemper'd   Imagination.     We   daily  hear  the 


"Hart,  American  History  told  by  Contemporaries  II,  p.  77,  quoted  from 
"The  Voyage,  Shiprack  and  Miraculous  Escape  of  Richard  Castleman,  Gent.," 
appended  to  "The  Voyages  and  Adventures  of  Capt.  Robert  Boyle,"  London, 
1726,  4th  Ed.  1786,  p.  331. 

"  Scharf  &  Wescott,  History  of  Phila.,  Vol.  II,  p.  863. 

60  American  Weekly  Mercury,  March  5-14,  172%. 

"Pa.  Gazette,  March  5-13,  1729-30. 

"  Scharf  &  Wescott,  Hist,  of  Phila.,  Vol.  I,  p.  203. 

"Pa.  Gaz.,  March  15  to  22,  1738-9. 


172  Early  Music  in  Philadelphia  with 

greatest  Mysteries  of  our  Faith  Ridicul'd  and  Banter'd,  the  Clergy 
Despis'd,  Expos'd  and  Degraded ;  and  that  even  by  Men,  who  have 
not  yet  Publickly  Renounc'd  Christianity;  but  such  as  would  be 
thought  to  have  clearer  Heads,  and  more  refin'd  Conceptions  of 
Things  than  their  Brethren,  those  Men  to  their  Shame  stand  Pelting 
Religion  at  a  distance,  with  little  Scoffs  and  Jests,  when  there  is 
a  more  Fair  and  Honourable  way  of  deciding  the  Matter,  by  rational 
and  indeniable  Arguments."  54 

In  opposition  to  this  we  have  the  testimony  of  Benjamin 
Franklin,  who  writes : 

"Giir  people,  having  no  publick  amusements  to  divert  their 
attention  from  study,  became  better  acquainted  with  books."  55 

So,  too,  a  correspondent  in  the  Weekly  Mercury  writes : 

"Here  are  no  Masquerades,  Plays,  Balls,  Midnight  Revellings, 
or  Assemblies  to  Debauch  the  Mind  or  promote  Intrigue."  56 

When,  however,  we  read  an  advertisement  in  the  same  paper 
about  a  month  later  like  the  following,  we  may  be  permitted  to 
doubt  somewhat  the  statements  of  the  last  two  men. 

"The  Art  of  Dancing  Carefully  Taught  (as  it  is  now  Practic'd 
at  Court)  by  Samuel  Perpoint,  at  his  School.  .  .  .  where 
for  the  Recreation  of  all  Gentlemen  and  Ladies :  There  will  be 
Country  Dances  every  Thursday  Evening;  likewise  he  teaches  small 
Sword."  57 

From  this  time  on,  we  notice  the  advertisements  of  various 
dancing  masters,  who,  often  were  school  masters  at  the  same  time. 
Not  only  did  these  Philadelphians  enjoy  dancing,  but  they  were 
partial  to  late  suppers  and  card  playing  as  well, — playing  cards 
was  a  staple  article  of  importation  after  1736.58    Another  favor- 


M  American  Weekly  Mercury,  June  19-26,  1729  [a  correspondent]. 

05  Autobiography,  p.  207. 

M  American  Weekly  Mercury,  June  19-26,  1729. 

"American  Weekly  Mercury,  July  31  to  August  7,  1729. 

"American  Weekly  Mercury,  February  8,  1736  [first  advertised]. 


Special  Reference  to  German  Music  173 

ite  amusement,  we  may  be  sure,  was  playing  on  the  Jew's  harp, 
for  after  1733,  this  instrument  frequently  is  advertised.59  The 
Jew's  harp  must  have  been  considered  a  harmless  instrument  by 
all  sects,  for  as  early  as  1675  in  one  State  of  Puritan  New  Eng- 
land it  is  stated  that  a  law  was  enacted,  "that  no  one  should  play 
on  any  kind  of  music  except  the  drum,  the  trumpet  and  the  jew- 
sharp."60 

Besides  the  amusements  already  mentioned,  the  Philadel- 
phians  had  an  opportunity  to  see  a  rope-dancer  in  1724,61  "Punch 
and  Joan  his  Wife,"  62  "Magick  Lanthorn"  exhibition,63  "Camera 
Obscura  and  Microscope,"  64  a  musical  clock  with  a  man  and 
woman  appearing  as  mountebanks.65 

Music  was  evidently  popular  at  society  meetings,  banquets, 
etc.  Perhaps  there  was  nothing  more  than  singing,  but  possibly 
a  violin  and  spinet  helped  to  while  away  the  time.  For  instance, 
in  1 73 1  at  the  celebration  of  "St.  David's  Day,"  by  the  "Society 
of  Ancient  Britons,"  the  evening  ended  with  "Musick,  Mirth  and 
Friendship."  66 

In  the  two  items  which  will  be  given  now,  may  be  detected, 
perhaps,  the  incipient  germs  of  musical  criticism,  or  at  least  the 
idea,  which  most  people  probably  had  of  what  a  professor  of 
music  should  know  and  be  able  to  do : 

"Elocution  is  not  unlike  Musick ;  there  is  scarce  a  Soul  so  rustick 
as  not  to  admire  both  in  their  Excellency,  altho'  the  Masters  of 
those  Sciences  may  lose  their  proper  Share  of  the  Praise.     He  that 


''"American  Weekly  Mercury,  March  2,  1733   [first  advertised]. 

60  Perkins  &  Dwight,  History  of  Hacndel  &  Haydn  Society,  p.  17  (note). 

61  Scharf  &  Wescott,  Vol.  II,  p.  863. 
"Pa.  Gas.,  Dec.  30,   1742. 

63  Pa.  Gas.,  Jan.  27,  1743. 

"Pa.  Gas.,  July  2,  1744. 

60  Pa.  Gas.,  May  31,  1744. 

m  Pa.  Gas.,  Feb.  23  to  March  4,  1730-31. 

"American  Weekly  Mercury.,  Aug.  7-14,  1729. 


174  Early  Music  in  Philadelphia  with 

having  laid  before  him  the  several  Parts  of  a  Musical  Instrument, 
can  Unite  them  in  their  Places,  and  tune  them  to  Harmony,  merits 
the  appelation  of  a  Master  in  Musick  and  should  be  distinguished  as 
such,  as  he  that  disposes  Words  into  grammatical  sentences,  and 
eloquent  Periods,  is  a  Master  of  Language."  67 

This  quotation  may  argue  for  the  popularity  and  respect  in 
which  music  was  held  at  that  time  by  at  least  some  of  the  people. 
We  find  in  this  crude  statement,  that  music  was  thought  worthy 
of  a  position  by  the  side  of  elocution,  which  has  always  held  a 
high  place  in  the  minds  of  every  people,  and  so  we  may  be  safe 
in  believing  that  music  had  a  place,  and  an  important  place,  in 
Philadelphia,  in  the  early  history  of  that  city. 

Another  correspondent  states  that: 

"Women,  like  Instruments  of  Musick,  require  to  be  long  used 
before  their  Sweetness  or  Discord  are  certainly  discovered."  68 

Unless  the  writer  of  the  above  knew  something  about  music, 
and  unless  music  was  an  object  of  interest  or  pleasure,  so  that 
this  comparison  would  be  appreciated,  he  would  not  likely  have 
ventured  to  use  such  a  simile. 

In  1733  there  is  a  record  of  a  "ball"  60  while,  in  the  next 
year  under  the  heading  "London  news,"  there  is  a  notice  con- 
cerning the  marriage  of  the  Princess  Royal  to  the  Prince  of 
Orange,  which  gives  the  following  information : 

"A  fine  anthem  compos'd  by  Mr.  Handell  was  perform'd  by  a 
great  Number  of  Voices  and  Instruments."  70 

This  latter  item  proves  nothing  except  that  the  name  of 
Handel  was  introduced  into  the  colonies  at  an  early  date,  and  may 
have  remained  in  the  memories  of  some  of  the  people,  since  he 
was  connected  with  such  an  important  event.    This  may  possibly 


! American  Weekly  Mercury,  Sept.   10-17,   1730. 
'  American  Weekly  Mercury,  Nov.  II,  1733. 
'American  Weekly  Mercury,  May  23,  1734. 


Special  Reference  to  German  Music  175 

have  helped  to  increase  the  popularity  which  his  works,  later  in 
the  century,  attained  in  America. 

It  has  been  seen  that  there  was  music  and  dancing  at  this 
time,  and  it  is  now  interesting  to  learn  what  kind  of  musical 
instruments  were  used.  It  has  been  shown  already,  that  there 
were  Jew's  harps,71  that  Kelpuis  had  clavichords,72  and  assuredly 
there  were  some  virginals,  although  probably  few.  In  the  fourth 
decade  the  various  instrument  makers  mentioned  above,73  prob- 
ably had  quite  a  number  of  customers. 

In  1729  Andrew  Bradford,  proprietor  of  the  American 
Weekly  Mercury,  advertises : 

"A  well-strung  Virginal  to  be  sold;  being  in  good  Order.  En- 
quire of  Printer  hereof."  74 

Dr.  Christopher  Witt,  referred  to  before,75  was  a  capable 
player  on  the  virginal,70  which  at  his  death  was  estimated  at 
£1,  15s. ;  77  while  a  virginal  belonging  to  the  "Hermits"  reverted 
to  the  widow  of  Magister  Zimmerman.78 

The  people  who  owned  instruments  of  this  kind  had  an 
opportunity  to  learn  to  play,  since  in  1730  a  woman — the  first 
music  teacher  in  Philadelphia — makes  an  announcement  in  the 
newspaper  as  follows : 

[Thomas  Ball's]  "Wife  teaches  Writing  and  French.  Like- 
wise Singing,  Playing  on  the  Spinet,  Dancing  and  all  sorts  of 
Needle- Work  are  taught  by  his  Sister  lately  arrived  from  London."  79 


"Vide  above,  p. 

"  Vide  above,  p. 

"  Vide  above,  p. 

"American  Weekly  Mercury,  March  4-13,  1728-9. 

75  See  above. 

"  German  Pietists,  p.  412. 

"German  Pietists,  p.  418   (note). 

"Justus  Falckner,  p.  64  (note). 

"Pa.  Gaz.,  July  2-9,  1730. 


176  Early  Music  in  Philadelphia  with 

What  class  of  music  she  and  her  pupils  played,  it  would  be 
hard  to  say,  but  it  did  not  cause  anyone  to  start  a  music  store, 
and  it  is  not  until  1739  that  any  great  musical  works  are  adver- 
tised at  the  office  of  the  man  of  many  parts,  Benjamin  Franklin. 
The  following  pieces  were  to  be  obtained  there:  "Corelli's 
Sonatas,  Geminiani's  Concertos,  Ditto's  Solos."80 

Besides  spinets  and  virginals  there  were  probably  violins, 
German  flutes,  trumpets,  drums,  a  few  viols,  etc.  For  instance, 
in  1749  Anthony  Lamb,  of  New  York,  advertises  among  other 
things:  "German  Flutes,"  81  while  other  men  advertise,  in  1750, 
"Hunting  pipes,"  82  and  "fiddle  strings,"  S3  From  1744  on  num- 
erous advertisements  of  drums  appear. 

Before  1740  there  is  no  record  of  any  kind  of  musical  organi- 
zation, but  in  this  year  there  was  such  a  society.  During  this 
year  the  evangelist,  Whitefield,  visited  Philadelphia  and  made 
a  strong  impression  upon  people  of  all  beliefs.  One  of  his 
disciples  caused  this  to  be  printed : 

"Since  Mr.  Whitefields'  Preaching  here,  the  Dancing  school, 
Assembly,  and  Concert  Room  have  been  shut  up,  as  inconsistent 
with  the  Doctrine  of  the  Gospel :  And  though  the  Gentlemen  con- 
cern'd,  caus'd  the  Door  to  be  broke  open  again,  we  are  inform'd  that 
no  Company  came  the  last  Assembly  night."  84 

One  of  the  members,  however,  denied  the  charge  that  dances 
were  inconsistent  with  the  doctrine  of  the  gospel,  and  affirmed 
that  the  hall  was  closed  up  by  William  Seward,  an  "Attendant 
and  intimate  Companion"  of  Whitefield's.  This  same  writer 
speaks  of  "Members  of  the  Concert"  and  the  rooms  belonging  to 
them.  He  also  says  that  the  members  "met  the  Night  after 
according  to  Custom ;  and  the  Thursday  following  the  Company 


80  Pa.  Gaz.,  June  15-22,  1738-9. 

81  Pa.  Gas.,  Jan.  31,  1749. 

"  Pa.  Journal,  Jan.  9,  1750. 

"Pa.  Jour,  and  also  Pa.  Gas.,  May  24,  1750. 

81  Pa.  Gazette,  May  1,  1740. 


Special  Reference  to  German  Music  177 

met  to  Dance  as  they  used  to  do ;  but  the  Assembly  being  only  for 
the  Winter  Season  is  now  discontinued  of  Course  and  the  Concert 
being  for  the  whole  Year  still  goes  on  as  usual."  85 

This  is  interesting,  as  it  is  the  first  record  of  concerts,  and 
also,  because  these  concerts,  continued  the  whole  year,  not  merely 
during  the  winter  months  as  nowadays.  There  were  "Members 
of  the  Concert,"  too,  who  rented  or  owned  rooms.  There  must 
then  have  been  some  kind  of  a  club  or  society,  which  gave  these 
performances. 

These  concerts  must  either  have  been  kept  up  for  years,  or 
new  series  instituted  year  by  year,  since  our  friend  William 
Black  (already  quoted)  says  in  his  diary  of  1744,  June  5: 

"At  8  O'Clock  went  to  hear  a  Concert  of  Musick ;  the  Per- 
formers was  some  Town's  Gentlemen,  and  did  Us  the  Honour  of  an 
Invitation,  we  staid  till  past  11,  and  I  left  the  Company  to  go  home 
to  my  lodgings."  88 

It  is  important  to  observe,  that  William  Black  says  he  had 
the  "Honour"  to  be  invited  to  a  concert.  One  might  say  that  this 
word  was  simply  a  common  expression.  It  probably  was,  and  still 
is;  but  we  believe  a  man  would  hardly  write  such  an  expression 
in  his  diary,  unless  he  really  thought  he  was  honored.  It  seems 
probable  that  this  concert  and  those  of  1740  must  have  been  very 
exclusive  and  were  not  public  entertainments,  which  anyone 
might  attend. 

There  was  exhibited  this  same  year  (1744)  a  curiosity, 
which  would  attract  a  large  crowd  of  people.  This  was  no  less 
than : 

"The  Unparallelled  Musical  Clock,  made  by  that  great  Master 
of  Machinery,  David  Lockwood.  It  excels  all  others  in  the  Beauty 
of  its  Structure  and  plays  the  choicest  Airs  from  the  most  cele- 
brated Operas-  with  the  greatest  Nicety  and  Exactness.  It  per- 
forms with  beautiful  graces,  ingeniously  and  variously  intermixed, 


85  Pa.  Gaz.,  May  8,  1740. 

MPenn.  Mag.  of  Hist.,  Vol.  I,  p.  416. 


178  Early  Music  in  Philadelphia  with 

the  French  Horn  Pieces,  perform'd  upon  the  Organ,  German  and 
Common  Flute,  Flageolet,  etc.,  Sonata's,  Concerto's,  Marches,  Minu- 
etts,  Jiggs  and  Scots  Airs,  composed  by  Corelli,  Alberoni,  Mr.  Handel 
and  other  great  and  eminent  Masters  of  Musick."  87 

This  is  the  first  public  record  we  have,  that  works  of  such 
famous  composers  were  played,  and  they  must  have  become 
familiar,  in  a  short  time  to  a  great  number  of  the  inhabitants. 

It  will  be  remembered  that  Miss  Ball's  capabilities  in  the 
province  of  music  were  confined  to  but  two  branches,  voice  and 
spinet.  In  1749,  however,  appears  a  truly  musical  genius,  if  we 
may  judge  by  the  number  of  instruments  which  he  played.  This 
man  was,  as  we  learn  from  the  following : 

"John  Beals,  Musick  Master  from  London  [who]  at  his  House 
in  Fourth  Street,  near  Chestnut  Street,  joining  to  Mr.  Linton's,  collar 
maker,  teaches  the  Violin,  Hautboy,  German  Flute,  Common  Flute 
and  Dulcimer  by  Note. 

"Said  Beals  will  likewise  attend  young  ladies,  or  others,  that 
may  desire  it,  at  their  houses.  He  likewise  provides  musick  for  balls 
or  other  entertainments."  88 

Here  was  an  opportunity  for  the  inhabitants  of  the  Quaker 
City  to  improve  their  time  by  learning  music,  and  as  the  variety 
of  instruments  from  which  they  might  choose,  was  large,  no 
doubt  some  of  them  became  proficient  musicians. 

This  same  year  saw  the  beginnings  of  drama  and  opera  in 
Philadelphia,  given  by  the  English  actors,  Murray  and  Kean.89 
These  dramatic  performances  were  soon  discontinued  on  account 
of  the  opposition  of  the  public.  From  now  until  the  latter  part 
of  the  fifth  decade  of  the  eighteenth  century  there  were  desultory 
attempts  to  give  dramas,  but  not  until  1759  did  the  theatre  prove 
successful  and  become  permanent. 

There  was  then  in  this  decade  an  incipient  appreciation  of 


87  Pa.  Gaz.,  July  12,  1744. 

"Pa.  Gaz.,  March  21,  1749. 

81  Madeira,  Annals  of  Music,  p.  29. 


Special  Reference  to  German  Music  179 

drama  to  which  some  music  was  oftentimes  joined.     What  other 
music  was  there  at  this  time?    In  1750-4  Mittelberger  says : 

"The  cultivation  of  music  is  rather  rare  as  yet.  .  .  .  Some 
Englishmen  give  occasional  concerts  in  private  houses  with  a  spinet 
or  harpsichord."  90 

Mittleberger's  statement  concerning  the  cultivation  of 
music  is  not  quite  true.  Music  undoubtedly  was  studied  a  great 
deal  more  than  Mittelberger  seems  to  think.  If  his  statement 
that  occasional  private  concerts  were  given  by  Englishmen  is 
true,  this  was  probably  the  kind  of  concert  William  Black  at- 
tended in  1749,91  and  may  have  been  similar  to  the  concerts  of 
1740.92 

During  the  first  half  of  the  eighteenth  century  Philadelphia 
was  not  so  utterly  devoid  of  musical  culture  as  some  of  our  his- 
torians of  music  would  have  us  believe.  The  music  was  not 
entirely  church  music,  and  although  musical  culture  was  not  so 
important  a  factor  in  the  life  of  the  people  as  at  the  present  day, 
still  music  was  beginning  to  make  itself  felt  among  intelligent 
people,  and  interest  in  it  and  appreciation  of  it  were  gradually 
growing. 

R.  R.  DRUMMOND, 
University  of  Pennsylvania. 


90  Mittelbergers  Journey,  p.  114  fif. 

91  Cf .  above,  p. 
M  Cf .  above,  p. 


THE  GERMAN  AMERICAN  HISTORICAL  SOCIETY 
AND  THE  GERMAN  AMERICAN  ANNALS. 

At  the  Whitsuntide  Festival  at  Washington  Park,  Philadel- 
phia, on  June  8,  1908,  Mr.  Theodore  Sutro,  of  New  York,  in  his 
most  excellent  address,  divided  mankind  into  three  classes :  Pessi- 
mists, Conservatives  and  Optimists.  He  declared  the  Conserva- 
tives fthe  most  tiresome  class,  as  they  always  wish  to  leave 
everything  as  it  was  and  is ;  the  Pessimists  are  the  worst  class, 
because  they  always  find  everything  wrong;  whatever  is  done,  is 
not  enough — they  only  talk  and  criticise,  but  never  do  anything 
themselves.  They  always  say  what  ought  to  have  been  done  and 
what  ought  to  be  done ;  they  put  up  visionary  ideals,  but  never 
do  anything  to  bring  about  those  things  desired.  Much  better 
is  the  third  class,  the  Optimists,  who  do  things  and  act,  and  bring 
forth  things  as  the  conditions  demand  and  wait  till  they  bring 
about  other  things  when  new  times  and  conditions  demand.  Mr. 
Sutro  spoke  of  these  three  classes  in  reference  to  the  German 
endeavors  in  America. 

I  can  readily  endorse  Mr.  Sutro's  words  in  reference  to  the 
German  American  Historical  Society  and  the  German  American 
Annals. 

Of  course,  things  could  be  better;  this  German  American 

Historical  Society  which  tries  in  its  Annals  to  bring  before  the 

whole  of  the  American  world  all  those  matters  in  which  Germans 

and  German  influence  have  worked  upon  the  political  and  social 

status  of  America,  ought  to  have  ten  thousand  members,  instead, 

of  less  than  one  thousand;  and  if  the  Pessimists  wish  to  have 

matters  made  better,  let  them  become  members  of  the  German 

American    Historical    Society — of   which   our   great    President, 

Theodore  Roosevelt,  is  an  honorary  member,  who  in  a  letter 

addressed  to  the  president  of  the  German  American  Historical 
(180) 


FOREIGN  CONTRIBUTORS. 

Prof.  Dr.  Otto  Bindewald,  University  of  Giessen. 

Prof.  Dr.  Karl  Borinski,  University  of  Munich. 

Prof.  Dr.  Aloys  Brandl,  University  of  Berlin. 

Prof.  Dr.  Otto  Bremer,  University  of  Halle. 

Prof.  Dr.  Karl  Breul,  King's  College,  Cambridge,  England. 

Prof.  Dr.  Konrad  Burdach,  University  of  Berlin. 

Prof.  Dr.  Creizenach,  University  of  Krakau. 

Prof.  Dr.  Ernst  Elster,  University  of  Marburg. 

Dr.  K.  Endemann,  Weilberg  a.  L. 

Prof.  Dr.  Ludwig  Geiger,  University  of  Berlin. 

Dr.  Grayell,  Brussels. 

Prof.  Dr.  F.  Holthausen,  University  of  Kiel. 

Prof.  Dr.  M.  H.  Jellinek,  University  of  Vienna. 

Prof.  Dr.  O.  Jiriczek,  University  of  Breslau. 

Prof.  Dr.  Max  Koch,  University  of  Breslau. 

Prof.  Dr.  K.  Landmann,  Darmstadt. 

Prof.  Dr.  Paul  Langhans,  Gotha. 

Prof.  Dr.  H.   Lambel,  University  of  Prague. 

Prof.  Dr.  John  Meier,  University  of  Basel. 

Prof.  Dr.  Rudolph  Meissner,  University  of  Gottingen. 

Prof.  Dr.  Richard  M.  Meyer,  University  of  Berlin. 

Prof.  Dr.  J.  Minor,  University  of  Vienna. 

Prof.  Dr.  E.  Mogk,  University  of  Leipzig. 

Prof.  Dr.  Lorenz  Morsbach,  University  of  Gottingen. 

Prof.  Dr.  F.  Muncker,  University  of  Munich. 

Prof.  Dr.  Anton  Schoenbach,  University  of  Graz. 

Prof.  Dr.  Bernhard  Seuffert,  University  of  Graz. 

Prof.  Dr.  Alexander  Tille,   University  of  Glasgow. 

Prof.  Dr.  H.  Varnhagen,  University  of  Erlangen. 

Prof.  Dr.  Oskar  Walzel,  University  of  Bern. 

Prof.  Dr.  G.  Witkowski,  University  of  Leipzig. 

Prof.  Dr.  Wychgram,  University  of  Leipzig. 

(List  may  be  extended.) 


form  von  IDermacbtnissen. 


I  give  and  bequeath  to  the  "German  American  Historical 
Society",  Central  Office  located  at  Philadelphia,  Pa., 


(Here  describe  the  amount,  if  money  or  premises,  if  real  estate) 

to  aid  in  carrying  out  the  designs  of  the  Society. 


THE  NATIONAL  GERMAN  AMERICAN  ALLIANCE. 

President,  DR.  C.   J.  HEXAMER,  Philadelphia,  Pa. 
ist  Vice-Pres.,  Joseph  Keller,  Indianapolis,  Ind. 
2d  Vice-Pres.,  Noah  Guter,  Newark,  N.  J. 
Ireas.,  H.  Weniger,  Phila.,  Pa.  Fin.  Sec,  John  Yenny,  East  Pittsburg,  Pa. 
Sec,  AdolphTimm,  522  W.  Lehigh  Ave.,  Phila.,  Pa. 

National  Executive  Committee: 

John  Tjarks,  Balto.,  Md.,  C.  W.  Bente,  Wheeling,  W.  Va.; 

Kurt  Voelckner,  Washington,  D.  C;  F.  Oskar  Martin,  Idaho; 
H.  I.  Nienstedt,  St.  Paul,  Minn. ;  Gustav  C.  Martens,  Cleveland,  O. ; 

C.  C.  Lienau,  Newark,  N.  J.;  Dr.  Carl  Bark,  St.  Louis,  Mo.; 

Dr.  H.  A.  C.  Anderson,  N.  Y.  City;  Albert  Curlin,  Oakland,  Cal.; 
H.  C.  Bloedel,  Allegheny,  Pa.;  Carl  Eberhard,  Boston,  Mass. 


*'  I 


THE  GERMAN  AMERICAN  HISTORICAL  SOCIETY. 

(Incorporated  1901) 

Honorary  President,  J.  G.  Rosengarten,  Philadelphia,  Pa. 
President,  Dr.  Albert  Bernheim,  Philadelphia,  Pa. 
Vice-Presidents:  L.  P.  Hennighausen.  Baltimore,  Md.  H.  H.  von  Starkloff, 

St.  Louis,  Mo.  C.  F.  Huch,  Philadelphia,  Pa. 
Editor:   Marion  D.  Learned,  Box  10,  College   Hall,    University  of  Pennsyl- 
vania, Philadelphia,  Pa. 
Treasurer:  Hans  Weniger,  Philadelphia,  Pa. 
Business  Manger  \  Charles  H.  Breitbarth,  5821  Chester  Avenue, 
and  Secretary:    /  Philadelphia,  Pa. 

Annual  Dues,  $5.00. 


THE  UNION   OF  OLD  GERMAN  STUDENTS   IN  AMERICA. 

Headquarter!,  ARION  HALL,   59th  St.  and  Park  Ave.,  New  York 

President,  Dr.  Carl  Beck,  37  E.  31st  St,  New  York. 
Vice-Presidents: 
Dr.  M.  D.  Learned,  Dr.  Henry  G.  Kraus, 

Hon.  Chas.  F.  McLean,  Dr.  Carl  Barck, 

Dr.  W.  Freudenthal. 

Rec  Secretary,  Dr.  J.  Heckmann.        Cor.  Secretary,  Dr.  Carl  Pfister. 
Treasurer,  Dr.  Albert  J.  W.  Kern,  Jamaica,  N.  Y. 


Dr.  Em.  Baruch, 
Dr.  Chas.  F.  Chandler, 
TL  Drobegg, 
Dr.  C.  W.  Eliot, 

D.    C.    GlLMAN, 

William  R.  Harper, 
Friedrich  Hirth, 
Oswald  Joerg, 
Henry  G.  Krause, 
L.  Herzog. 


Directors: 

W.  Hallock, 

Dr.  R.  Johnstone  Mooney, 
Dr.  H.  Muensterberg, 
W.  Schauffler, 
Dr.  H.  Schoenfeld, 
H.  Schueter, 
Dr.  J.  G.  Schurman, 
Dr.  L.  L.  Seaman, 
Andrew  H.  Smith, 
Andrew  von  Grimm, 
H.  A.  Weber. 


Annual  Dues,  $3.00. 


